Just a heads up to let you know that the BANG! is still going strong, but I've moved it over to the Big Bang Comics website. I've loaded the two most recent posts here, but from now on you'll have to go to that location for more of my blather. See you there: http://bigbangcomics.com/bang-blog/
Gary Carlson
6/27/2013
Thursday, June 27, 2013
Enter: Ben Torres
In
case you haven't been paying attention, the trade paperback of Knight
Watchman: Graveyard Shift is currently available at Amazon.com
for a measly $8.09 (plus shipping). This book collects the four issue
mini-series originally published by Image Comics, written by myself
and Chris Ecker and featuring the fabulous art of Ben Torres.
Ben's
career as a designer began at the Hasbro Toy Group, working on Star
Wars, GI Joe, Batman, Starting Line Up, Pokemon, Aliens, Predator,
Monsters Inc, Planet of the Apes and others. He also served as
creative consultant on various television series such as GI Joe,
Vortech and Transformers and contributed concept designs and story
content for movies such as Star Wars, Men In Black and Jurassic Park.
As
far as I know, Ben's comic book career started right here at Big
Bang Comics. Actually, it began with the pre-Big Bang story
Brother Hood, the back-up feature in 1993's Berzerker
#4 which evolved into Graveyard Shift.
The
first two issues of Graveyard Shift were published by Caliber
Press, but the series was interrupted by our movie over to Image
Comics. Those first two issues were reissued by Image with new covers
and back-up stories. The series concluded with issues 3 and 4 which
contained all new material.
I
thought I'd use this blog post to share some of Ben's Knight Watchman
pieces that are not reprinted in the Graveyard Shift trade
paperback. These include the original two covers to the Caliber Press
issues, a presentation piece and a drawing that he gave to me.
Also
presented here today are Ben's two original KW sample pages, which
have never appeared anywhere except for one figure used in an ad. You
will notice that KW's uniform features the second (unused) version of
the chest logo, the black shield with the eyeball on it. It's also
either the grown-up Galahad in the Watchman suit, or more likely just
drawn before we decided that the older Reid Randall would be more
massive than his junior partner.
Either
way, once we saw Ben's take on the character we knew that we had to
do the mini-series.
Knight
Watchman: Graveyard Shift is available at Amazon.com at:
http://www.amazon.com/Knight-Watchman-Graveyard-Chris-Ecker/dp/1481885340/ref=sr_1_1?ie=UTF8&qid=1370392185&sr=8-1&keywords=knight+watchman+graveyard+shift
The Night Watchman?
That's right - - the Night Watchman.
No “K”.
When Chris Ecker asked me to work with
him on a new strip in the early 1990's, his original intention was to
do a gritty, modern day Daredevil type of character. He even
had drawn up a promo piece, which is presented here for the first
time ever. In fact, I didn't even recall seeing this piece when Chris
mentioned it last week, after reading one of my earlier blogs.
He emailed me back this scan of the art
and said “That's the art you saw and said, 'Why don't you add a "K"
and call him the Knight Watchman? I'm pretty sure it was at
your house in Elgin in your comics studio. This is the real first
ever drawing of Knight Watchman. It was really just a
test-piece originally. I hadn't inked anything in a while and it
shows. I had intended to white out some windows in the background
buildings and stuff, but when we started developing the Golden Age
and Silver Age Knight Watchman, I just put this aside.”
I must have only seen this drawing that
one time. When we changed Night to Knight, we created an entire 50
year mythology for the character and started tinkering with his
costume.
The second piece Chris drew was a Mr.
Mask pin-up. Our apparently nameless hero still has the eyeball
logo on his chest, but has gained his lace-up wrestler's boots. It
definitely has a Bob Kane Batman feel to it, but the signature
is not yet Tom King's.
Next up was the original “Grandfather
Clock” story (inked by Paul Fricke) that ran in Berzerker
#1. He was officially the Knight Watchman now, his chest logo
having evolved to a shield with a full eye on it. I'm posting one of
Chris' cover roughs from about this time. We had fully accepted the
pastiche concept by this point and the layout was for a Deductive
Comics issue featuring the Watchdog, Mr. Mask (using
the name The Masque), Baron von Fledermaus, and
probably the first ever drawing of an unrecognizable Pink
Flamingo.
Somewhere in the middle of all of this,
our Knight became the Protector for a brief period. Neither
Chris or I have been able to locate a copy of the original piece,
which was modified into the “Who He Is And How He Came To Be” art
which ran in the last post Through
History with the Knight Watchman. The bottom panel didn't change
much except for the chest logo and character's name. I'm running a
re-edited version of it until we locate the real thing.
Chris was mainly a Marvel fan, but I
was a DC guy from way back in 1962. My brother Jeff was three years
old than I was, and he let me read his comics. Almost immediately I
was trading comics with his friends and had grown up on a steady diet
of 1950's and 60's Superman and Batman titles and
annuals. To this day, I consider Dick Sprang and Shelly Moldoff to be
THE Batman artists, with Wayne Boring, Curt Swan and Kurt
Shaffenberger taking the honors for Supes.
The plan all along was to tell some of
these retro stories to lead into modern stories taking place more or
less in the Megaton universe. It didn't work out that way. Knight
Watchman: Graveyard Shift and Big Bang #4 of the Caliber
run were the only modern stories printed until the recent Watchman's
Skeletons In The Closet. Our move to Image Comics came with an
agreement to stick to the retro stories after we finished up
Graveyard Shift. It was an
easy deal to agree to and we had a great time during our years with
Image.
Tuesday, June 11, 2013
Through History with the Knight Watchman
I didn't set out to be a ghost. I don't mean a
spook like Casper, but an artist or writer working anonymously to
create work credited to somebody else. Comic strip assistants are
generally ghosts, working for and generally in the style of whoever
created the strip. Jim Davis has a number of assistants to write,
letter and draw Garfield for him. Comic book creators carried
on the tradition from the very beginning.
Jerry Siegel and Joe Shuster's
Superman shop included Paul Cassidy, Leo Nowak, John Sikela,
Wayne Boring, Ed Dobrotka and others. Many graduated to doing the
strip or others on their own, but Superman was only credited
to Jerry Siegel and Joe Shuster until 1948 or so.
Similarly, an army of ghosts produced
work under the Bob Kane name on Batman over the years. Writer
Bill Finger helped create the character and strip but was never
credited. Jerry Robinson, George Roussos, Sheldon Moldoff, Dick
Sprang, Fred Ray and Win Mortimer all drew Batman, either for
DC Comics or for Kane himself.
When Chris Ecker and I created the
Knight Watchman and revamped Ultiman in 1992, neither
one of us was thinking about ghosting Bob Kane or Siegel &
Shuster. Chris Ecker really WAS Tom King, or maybe it's the other way
around. As you can see by Chris' early Big Bang work, he was just
tweaking his own style. The style that editors were telling him
looked like old time stuff. So we were doing old time comics. Just
having fun.
At that point, I'd have to say that
our biggest inspiration as to what Big Bang could be was the Catalan
Communications 1987 trade paperback collection of the comic strip The
Cabbie by Spanish artist Marti Riera. In this violent 1970s
strip, Marti mimics the artwork, style, and pacing of Chester
Gould's classic Dick Tracy of
the 1930's and 40's. In his introduction to the tpb, Art Spiegelman
said that “other artists, from Al Capp to Andy Warhol, have paid
homage to, parodied, swiped from or been inspired by Chester
Gould's Dick Tracy. Only Marti has been able to
recreate it.”
The idea of doing the retro stories in
the styles of the classic writers and artists of the Golden and
Silver Ages appealed to us. We wanted to do a Dick Sprang Knight
Watchman story, or Shelly Moldoff or Neal Adams. Or a Simon &
Kirby style Knight Watchman or one as if by Siegel &
Shuster or Curt Swan.
Big Bang caught on pretty fast and
the back-ups became more popular than the main Berzerker character.
Suddenly, instead of two or three characters we were talking about an
entire pantheon of heroes, an alternative universe! Our publisher,
Caliber Press asked for a Big Bang Comics series and we were
happy to oblige. But it became obvious that Chris wasn't going to be
able to draw it all.
Luckily, we starting getting
submissions right away from our friends who enjoyed what we were
doing. The first and most inspirational to me was David Zimmermann.
His three pieces featuring the Knight Watchman in the 50's, 60's and 70's pointed out to us what COULD be done.
I believe
he drew the Wayne Boring Ultiman figure that became the
centerpiece of “Who He Is and How He Came to Be”. Over the years
Dave drew some of Big Bang's finest pages, including the cover to Big
Bang #12, interior chapters in that Savage Dragon cross-over, the
full-length Knight Watchman Meets the Verdict in BB #30 and my
own personal favorite, from BB #11, Galahad in “The Library
Looter”. Dave Zimmermann started us on the path to really make an
effort to nail the ghosting of styles for Big Bang. Thanks Dave.
At the same time I met Mark Lewis who was mining similar ground with Mr. U.S. 50 Forgotten Years in which he was ghosting a number of art style. Mark has been an unsung hero of Big Bang, designing many of the characters and creating a boatload of logos for us. More on him in a future blog. The 1939
Watchman illo below helped set the stage for things to come.
At the same time I met Mark Lewis who was mining similar ground with Mr. U.S. 50 Forgotten Years in which he was ghosting a number of art style. Mark has been an unsung hero of Big Bang, designing many of the characters and creating a boatload of logos for us. More on him in a future blog. The 1939
Watchman illo below helped set the stage for things to come.
My own other Big Bang inspiration came
from the Solar Pons stories by August Derleth, which had
originally introduced me to the concept of the pastiche, a dramatic, literary, or musical piece created in a generally tongue-in-cheek yet
respectful imitation of another's style. The Pons stories were styled
very closely after Arthur Conan Doyle's Sherlock Holmes. They
seemed a bit too much like Holmes to me, where only the names had
been changed.
While we were trying to tell a
Superman or Batman-type story, we tried to make the
characters as original as possible with their own origins and quirks. We always aimed for that “left-hand turn” to add a different spin
to the archetype. As Mark Lewis said, "whenever anyone asked me to describe Big Bang, my take was that it was 'comics history through a funhouse mirror.' Things were supposed to be familiar, but different. Otherwise, if they were note for note the same, what would be the point?"
Hopefully we accomplished that.
Hopefully we accomplished that.
Thursday, June 6, 2013
Knight Watchman part 1
The other strips in Megaton #1 were
all origin stories too: Ethrian, Berzerker and Wizards of War all
took place elsewhere but would have returned to the main continuity.
(Ethrian and Berzerker eventually did, more or less, at Image Comics
in my Vanguard stories).
I mentioned last time that Big Bang
Comics began in 1992 when Chris Ecker told me that he was tired of
comic book publishers and art directors telling him that he drew like
an “old guy” and that he was going to sit down and draw an old
style comic book story and that I was going to write it.
We
were at a
local one day comic show and Chris wouldn’t let me leave until that
damn story was laid out and written. They eventually kicked us out
and we went off to one or the other of our houses and kept working on
it.
Chris had drawn the Sentinel story in
Megaton #1. For this new story we decided to turn back the clock and
do a “classic” tale featuring his mentor, the Crusader, who had
only appeared in a single flashback panel in that story. However, Chris had
drawn him for the full page entry in our who's who Megaton Explosion.
(Sidekick Sparky, eventually the Sentinel, was drawn by Gordon
Purcell in one of his first published pieces, I believe).
Unfortunately, the Crusader seemed a
bit too blah. We redesigned and rechristened him as the Protector. That wasn't right either and so we went with Night
Watchman. He had an eyeball on his chest as in “always watching”.
Chris signed the first drawing using the pen name Timothy Allen.
Night Watchman still seemed a bit
blah. We debated and finally added a “K” making him the Knight
Watchman. Everything seemed to fall in place. Chris’ first
professional work in comics had been as an assistant to Rick Fletcher
on the Dick Tracy comic strip, where he learned to letter. The early
Batman comics seemed heavily influenced by Dick Tracy, so we took our
Knight Watchman in that direction.
We devised a bizarre rogue's gallery.
Chester Gould had Flattop, Pruneface, the Mole, the Brow, Itchy and
Mumbles. Batman had the best villains: Joker, Catwoman, Two Face, the
Riddler, Mr. Freeze, Clayface, Mad Hatter and the Penguin. The Knight
Watchman was going to face Mr. Mask, Pink Flamingo, the Little Giant,
Paper Doll, Quizmaster, Grandfather Clock, Baron von Fledermaus –
the Bat, the Creep, Cheshire Cat and many more.
Because
Tim Allen was becoming a major TV star on “Home Improvement”,
Chris changed his nom de plume to Tom King. With a nod to Bob Kane, we placed the "Created by" and signature inside of a crown shaped box (fit for a king, naturally).
The eyeball was still part of Knight
Watchman's chest logo when that first story, “The Time Crimes of
Grandfather Clock” appeared in Berzerker #1 in 1993. By the time
Big Bang Comics #1 appeared the next year, his chest shield had been
darkened to its familiar form.
Next time: through history with the Knight Watchman.
Tuesday, June 4, 2013
Graveyard Shift
Big Bang Comics began in 1992 when
Chris Ecker told me that he was tired of comic book publishers and
art directors telling him that he drew like an “old guy” and that
he was going to sit down and draw an old style comic book story and
that I was going to write it.
Chris and I both broke into the comic
book industry with my “Megaton” independent comic in the 1980s.
The idea behind Megaton was of presenting a new generation of super
heroes.
We had included a few members of the
previous generation: Ultraman and the Crusader. They were
somewhat
generic archetypes who existed mainly to set up the new heroes. Now
we decided to tell the back stories of these characters. Except that
the Crusader was a little too generic and bland.
We turned him first into the Night
Watchman and at the last minute added a K and he became the KNIGHT
WATCHMAN. It occurred to us that this way we could develop a
mythology for the character and tell stories in the style of classic
Batman creators like Dick Sprang and Shelly Moldoff. With a nod to
Bob Kane's signature, we added a serrated box that looked like a
crown with a caption in it that said “Created by Tom King”.
That first story, “The Time Crimes of Grandfather Clock” appeared as the backup story in Berzerker #1, a book of mine published by Caliber Press featuring another old character from the Megaton days. Berzerker #2 featured the rechristened Ultiman and #3's backup featured another Megaton alum, Doctor Weird, who had been created by Howard Keltner. The fourth Berzerker backup was Brother Hood, a modern urban version of Robin Hood written by Chris and myself with art by Ben Torres.
We christened the batch of stories
“Big Bang Comics” and right from the start, fan reaction to the
characters, especially Knight Watchman was amazing. Fans thought they
really were forgotten Golden Age characters! This led to a three part
mini-series. Issue one would introduce Golden Age versions of a batch
of characters, number two would feature Silver Age incarnations of
the same characters and the third issue would be a modern version,
taking place roughly 30 years after the events in issue two. (It
didn't work out exactly that way. The 64 page Golden Age issue was
eventually split into three separate issues by Caliber Press.
Right from the start, it was obvious
that the Knight Watchman was our most popular character. As we
started work on the Big Bang mini-series, we also started on
Graveyard Shift with Ben Torres, plugging the Watchman into the world
of Brother Hood (who only appears in a few pages in the story).
This is where we fleshed out the
history of the Knight Watchman. Galahad and the Pink Flamingo
appeared in Graveyard Shift before they debuted in Big Bang.
I can't help it. I keep picking up my
copy of Pulp 2.0's trade paperback collection of “Knight Watchman:
Graveyard Shift” and thumb through it, impressed over and over
again by Ben Torres' beautiful black and white art and storytelling.
I'm impressed at how fully formed the characters and mythology are.
Yeah, I co-wrote it and yeah, I originally published it about twenty
years ago but I am still amazed by how well it has held up and how
proud I remain of it.
There are two more volumes of Knight
Watchman adventures on the way from Pulp 2.0, featuring stories
“from” the 1930s through the 1990s, another 300 or so pages of
material. If I were you, I'd start reading now.
Big Bang Comics, Knight Watchman, all
art & characters are copyright & trademark 2013 by Gary Carlson & Chris Ecker. “Knight Watchman: Graveyard Shift” tpb cover is
copyright Pulp 2.0. All art shown is by Ben Torres.
Friday, May 31, 2013
Welcome to the BANG!
When Chris Ecker and I first created Big Bang Comics about twenty years ago, some of our earliest champions were Golden Age comics legends Mart Nodell and Shelly Moldoff. Both were kind enough to provide covers for our early issues and appreciated the homages that we were creating. My wife Margie attended most comic conventions with me and we always enjoyed spending time before the day's activities visiting and catching up with Shelly and his wife Shirley. Chris was friends with Mart and Carrie Nodell and I got to know those wonderful folks through him.
Carrie Nodell was a wonderful, sweet lady and she always referred to us and Big Bang Comics as simply "The Bang" and Chris and I started to refer to the project that way and still do after all these years. When I decided to start a blog featuring unpublished art and stories from Big Bang and Megaton, I never had any doubt as to what to call it.
Mart and Carrie and Shelley and Shirley are all gone now and I miss seeing them at comic shows. As an "old guy" now 20+ years on, I have even more respect for how hard they worked at those shows and for the fun and enthusiasm they generated. This blog is dedicated to their memory and spirit.
What can you expect from this blog? I'd like it to be a companion to my two websites: www.megatoncomics.com and www.bigbangcomics.com . If you're not familiar with them or my work you might want to check them out. Over the years there's been a lot of work that didn't make it into the books, and I'll be sharing some of it here. Sketches, covers, complete comic stories, character designs, even scripts.
I'd like to encourage any of the artists and writers who were part of the gang over the years to comment, submit art and/or their recollections about the good old days (or not so good, if that's the case). Hopefully they will not mind me sharing some of their old work here.
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